the new york observer fall arts preview

8/8/2019 The New York Observer Fall Arts Preview

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Art by Paul Laster and Alexandra Peers OperAby Zachary Woolfe

theAterby Kimberly Kaye, Jesse Oxfeld and Robert J. HughestelevisiOnby Christopher Rosen BOOksby Christian Lorentzen

musicby Michael H. Miller mOvies by Sara Vilkomerson

Seeo

ur

adonpage

5.our

npage

5.

Have a snappy Halloween!

Learn about this months tricks and treats at AddamsBroadway.com/events

T i c k e t m a s t e r . c o m ( 8 7 7 ) 2 5 0 - 2 9 2 9 G r o u p s ( 8 7 7 ) AD D AM S 1 L u n t - F o n t a n n e T h e a t r e , 2 0 5 W e s t 4 6 t h S t .


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B

ig names are back on the New York cultu

scene.

Whether its Spider-Man and Pacinoon Broadway or a new diva and two new

operas at the Met, this season is about the return

panache a ter years o economic-bred hesitation.

This time last year, bold bets were rare, as

producers and curators and directors didnt know

whether their investments would pay o, so they

didnt take risks. In the spring, the cultural deep

reeze began a slow thaw, mostly through the rise

resh new voices.

Now, we can declare the doldrums nally and

ofcially over. In the theater,Bloody Bloody AndreJackson is shaping up to be one o the Publics bigg

successes everand thats beore the musical has

even landed on Broadway. Kanye West and Bob Dy

are back with new albums, and Philip Roth and

Salman Rushdie are back in bookstores.

In short, New Yorks arts world this all is back in

season. Enjoy.

The Editors

Finally,

a BoldSeason forthe Arts

Season 20102011

fall season opens october 27

Tickets start at $12NYCOPERA.COM 212.721.6500David H. Koch Theater Box Office(63rd & Columbus)

Season support provided by

The Peter Jay Sharp Foundationand

The Andrew W. Mellon Foundation

PresentingSponsor

ofAQuietPlace

CharlesRay,

UntitledSculpture,

MatthewMarksGallery

TinaBarney,

TheBrocadeWalls,JanetBorden,

Inc

.

One of Bernsteins most impressive scores.Gramophone

Bernsteins final stage work receives its long-awaited New York premiere in

a new production by visionary director Christopher Alden. This emotionally

searing musical drama explores the alienation, strife, and reconciliation found

in a dysfunctional American family.

october 27November 21

Leonard bernstein/Stephen wadsworth

a quiet place

new production/ny premiere

Delicate and delicious an irresistable triumph. OperaMagazine

Leon Majors lighthearted production highlights the contrast between

conversational vignettes and lush orchestral interludes in this rarely performed

domestic comedy, based on real incidents from Strausss own marriage.

richard Strauss

intermezzooctober 31November 20

October 28 at 7:00 pm

One of the worlds most sought-after

sopranos sings Wagner, Puccini,

and popular songs by Harold Arlen

and Jerome Kern.

an evening with

christine brewerScheduled to appear: Michael Cerveris,

Victoria Clark, Darius de Haas,

Christine Ebersole, Cheyenne Jackson,

Donna Murphy, Kelli OHara, and Michael Urie.

lucky to be me:

The music of

Leonard BernsteinNovember 6 at 8:00 pm/November 7 at 1:30 pm

FALL ARTS PREVIEWEditors Note The New Y


3/32

AmericAn color

PhotographsOctober 67 (2395)

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Fine Musical InstrumentsOctober 8 (2346)

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A Historic Photographic GrandTour: Important Daguerreotypes byJoseph-Philibert Girault de PrangeyOctober 7 (2396)

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Important Silver and Objectso Vertu Including the StuartCollection o Magnifcent SilverOctober 19 (2349)

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hs

Auction CalendarNew York October 2010

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4/32

At her rst soloshow in New York,in 2004, HumaBhabha showedsculptures andphotographs

that aNew York Times criticchampioned as not like anyrecent art I can think o. Her

most recent solo show in NewYork was three years ago,dubbed at the time byNew Yorkmagazine a tour de orce o... post-apocalyptic dreams,This November, Ms. Bhabhais braced to take on the cityonce again, with shows at twogalleries. Peter Blum Chelseawill display her hand-alteredphotographs, and, at JeannieGreenberg Rohatyns gallerySalon 94 Bowery, Ms. Bhabhawill exhibit new sculpture.Both shows op en Nov. 17.

In the art world, the favor-

Body of WorkA Pakistani artists dark totems mark the fall season By Paul La

Untitled, 2010.

FALL ARTS PREVIEWArt The New Yo

o-the-month is an acceptedphenomenon. But Ms. Bhabha,a standout since P.S.1s GreaterNew York exhibition in 2005, hascontinued to see her ortunesrise with international soloshows and inclusion in this yearsWhitney Biennial. Best knownor raw, gurative sculptures

o ragmented bodiesthinkdisembodied, almost sinister,heads and eetassembled romdetritus and clay, the artistmixes elements o Eastern andWestern art with infuences rompop culture and science ction.

When I rst saw the work, Iwas taken by her use o modest,everyday materials to makesomething both ritualistic andcontemporary, said art dealerMs. Greenberg Rohatyn. Shecan interpret the image o a aceto make it look like it belongsto the tradition o Picasso but

also comes out o a horGrowing up in Karac

I used to like drawinggure, said the artisther Poughkeepsie, N.Ystudio. I remember seGoghs paintings and do shoes and was infueby him. I also rememb

very impressed by the o Constantine in Romwhole body is broken useparate parts. When Istarted drawing eet I actually thinking abouas i the sculpture hadand just the eet remaiIt was like a gureless The body had disappeasomething had happenand only the eet were

She was born in Pakin 1962; her mother waartist and her ather wsuccessul businessma

presents

carnegiehall.org | 212-247-7800Artists, programs, dates, and ticket prices subject to change. 2010 CHC.

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She can interpret

a ace to make it

look like it belongs

to the tradition o

Picasso but comes

out o a horror flm.

FALL ARTS PREVIEWArt The New Ymoved to America in 1981 toattend art school at RhodeIsland School o Design, whereshe received a B.F.A. in 1985and later returned to earn anM.F.A. rom Columbia in 1989.

While she returns annuallyto Pakistan, in some respectsshe took to Western cultureimmediately. I watch a loto movies and television,said the artist. I like a loto horror and science ctionlms and the idea o monsters.You look at whatever inspiresyou. Ater marrying a ormerclassmate, artist Jason Fox,the artist stayed in the statesand started experimentingwith sculpturea medium thatshe had not avored in school,but soon came to master.

Inuenced by Greek, Egyptianand Indian works, Ms. Bhabhaaimed towards an intuitiveearthiness, where things alwayslook a little gritty. I lookaround and know that there aredevastating things going on,environmentally and man-made,said the artist. I one is aware

o things other than onesel, Idont think you can avoid it.Who are her artistic

inspirations? I look at a loto Picasso [who taught me]it doesnt matter i thingslook a little dirty. It just addsto the intuitive way that Imapproaching the drawing, she

said. I enjoy doing portraits.I you look at Expressionism,you see a lot o use o theheadartists like Basquiatand Picasso. I look at whateverew art books I have andtheres a lot o art history,

But ew o her art-historicalchoices have been discussedas much as her unusual choiceo medium. She explained:The choice o materials ormany years came rom nothaving a lot o money. NewYork is a marketplace wherepeople throw out everything.Ive been using diferent kindso ound material or a longtime. But why Styrooam? Ivebeen using Styrooam since Irst started making sculpturebecause its very light, but alsosturdy. I dont know how toweld and Im not such a greatcarpenter. I basically work theway that I can do everything bymysel. I like using Styrooambecause its easy to handle. Ican carve it. I can stack it. I ndit a very interesting medium.Its almost like sot marble.

At Peter Blum, the artist willshow large-scale photographsthat are altered with ink andcollage The photographsare mostly landscapes romKarachi, where she visits heramily every year. Withouta specic plan in mind, shedraws guresespecially

heads and eeton top o thephotographs, which sometimesget completely covered.

At Salon 94 Bowery, Ms.Bhabha will exhibit newsculptural works. Cobbled-together pieces rom diversematerial like Styrooam andderitus, these assemblagespoetically address theragile state o 21st-centuryhumanity. Asked i her visionis really post-apocalyptic,Ms. Bhabha answered, Notreally. I thin k were living

in the apocalypse now.

Huma Bhabhas new work ison view at Salon 94 Bowery(243 Bowery Street), Nov. 17Dec. 23, 2010, and Peter BlumChelsea (526 West 29th Street),Nov. 17, 2010Jan. 15 , 2011.

Jerome M. Eisenberg, Ph.D., Directorest. 1942

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7/32


8/32

HYPER-HYPED

ALSO ON THE RADAR

Abstract Expressionist New York, the

Museum of Modern Art, opens Oct. 3

Who knew, or wanted to, that there were once

more than 60 Ab-Ex painters in New York? Cu-

rator Ann Temkin, apparently, who pulls rom

MoMAs substantial 20th-century collection to

make a case that the movement was deeper

than Jansons and the like would have you be-

lieve. About 300 artworks, in various mediums,

are on view in a show that practically shouts (in

a masculine, mid-century voice): Blockbuster!

Robert Rauschenberg at Ga-gosian, opens Oct. 29

This is the rst show o Rauschenbergs work

that powerhouse dealer Larry Gagosian will

stage since wrestling the right to represent the

artist (or rather, his estate) rom Pace earlier

this year. It will take place in the 21st Street

space that housed the dealers much-praised,

museum-quality Claude Monet exhibition last

year. Expect all the stops to be pulled out here.

Modern Life: Edward Hopper and

his times, rhe Whitney Museum of

American Art, opens Oct. 28

There are many art lovers, amiliar with

Hoppers lonely hill and lonely woman and

lonely street images, who may skip this

show, eeling theyve seen it all beo

people would be making a mistake

could well be the strongest show th

both curatorial vision and quality o

The curator, Barbara Haskell, also ov

the ground-breaking 2009 show o

OKeee that reinterpreted that art

dismissed or her postcard-pretty f

as a ar more interesting abstract pi

Here, the Whitneys collection o Ho

rounded out by works by his contem

Stieglitz, Steichen, Strand, rhe Mpolitan Museum of Art, opens Nov

The Met shows o in this exhibition

another blockbuster completely ro

collection. Here, 100 works by three

the-century (19th, that is) master ph

phers take over the second-foor ph

and drawings galleries. Interestingl

rst photos the Met ever acquired, g

the artist, were 22 pictures by Steig

Art Basel Miami Beach, Dec. 1 (VIP

The great air, which has survived

the boom and the bust, hits its ninth

year. The art worlds Woodstock.

Jackson PollocksShe-Wolf.

FALL ARTS PREVIEWArt The New Y

JuilliardJoseph W. Polisi, President

WED, OCT 6 AT 8 Peter Jay Sharp Theater

Cecelia Hall Mezzo-sopranosings Debussy, Mahler, Alan Smith

John Brancy Baritonesings Ives, Blitzstein, Bolcom, Chanler, Ravel, Korngold

Juilliard Vocal Honors RecitalErika Switzer and Renate Rohlfing, PianosFREE tickets at box office

THURS, OCT 7 AT 8 Peter Jay Sharp TheaterSEASON DEBUT BY

Juilliard415MONICA HUGGETT, Conductor

ALL-BACH Orchestral Suites No.1 in C, BWV 1066; No. 4 in D, BWV 1069Cantatas Ich habe genug & Ssser Trost mein Jesus kmmtFREE tickets at box office

MON, OCT 11 AT 8 Peter Jay Sharp Theater

AXIOMexamines Lindbergs Musical ContextJEFFREY MILARSKY, Conductor

STRAVINSKY Symphoniesof Wind Instruments (1920/1947)XENAKIS Okho (1989)LINDBERGJoy(1990)FREE tickets at box office

TUES, OCT 12 AT 8 Paul Hall at Juilliard

William Schumans Choral MusicNEW YORK VIRTUOSO SINGERS

HAROLD ROSENBAUM, Director

Juilliard Singers & Instrumentalists

Five Rounds on Famous Words; The Lord has a Child; Carols of DeathChoruses from The Mighty Casey; Mail Order MadrigalsWilliam Schumans centennial year marked his cultural innovation and revealedhis symphonies anew. This re-examination of rarely-heard a cappella andvocal-chamber works closes the centennial celebration.FREE tickets at box office

WED, OCT 13 AT 8 Paul HallBonnie Hampton and Faculty Friends:

Chamber Music ReunionBonnie Hampton, CelloRobert Mann & Earl Carlyss,ViolinsNicholas Mann, ViolaSeymour Lipkin, Piano

SCHUMANN, BEETHOVEN, DVOR KExtraordinary music-making by Juilliard colleagues and friendsFREE tickets at box office

FRI, OCT 15 AT 8 Alice Tully Hall

American Brass Quintet50TH ANNIVERSARY CONCERTRaymond Mase and Kevin Cobb, TrumpetsDavid Wakefield, HornMichael Powell, TromboneJohn D. Rojak, Bass Trombone

Works by TOWER, MARENZIO, MAZZI, GABRIELI, CANGIASI, GASTOLDI,STOLTZER, and NY Premieres by TREVOR GURECKIS and DAVID SAMPSONSaidenberg Faculty Recital Series

FREE tickets at box office

JUILLIARD 155 W. 65th St. Box Office M-F, 11AM-6PM (212) 769-7406www.juilliard.edu

Houdini: Art and Magic, The Jew-

ish Museum, opens Oct. 29

Houdini, the original perormance artist?

Many shows recycle the same artists and

ideas; this isnt one o them. This one tells

the story o the Hungarian escape artist

(son o a rabbi), and juxtaposes some ohis never-beore-exhibited magic ap-

paratus with artworks inspired by him by

artists like Matthew Barney, Petah Coyne,

Vik Muniz and Raymond Pettibon.

Peter Greenaways The Last Supper,

The Park Avenue Armory, opens Dec. 2

Two years ago, the master showman and

director staged one o his trademark set

piece/happenings at the Santa Maria Delle

Grazie in Milan, home o Leonardos Last

Supper; viewers reported that the gures

seemed three-dimensional, and even ap-

pared to move. Hell re-create the event

here with a ull-size replica o the artwork.

Jim Campbell: Sca

Light, Madison Squ

Park, opens Oct. 21

This ambitious proje

artist/MIT-trained en

place nearly 2,000 f

bulbs around the pa

terns will create the

human orms. Anoth

Voices in the Subway

provides the soundt

50 Years at Pace, ongoing

In any other city, Paces salute to it

years, essentially a Cli Notes our

history o 20th-century art, would

ing lines. Here, it risks being oversh

a bit by a strong museum exhbitionBut, though cramped, it holds its o

the best o them, and the whole ex

ganza is on view only through Oct

The International Fine Art & Antiq

Dealers Show, The Park Avenue Ar

mory, opens Oct. 21 (VIP preview)

Miami has Art Basel, but New York

International. The very tony antiqu

and jewelry air turns 21 this year. It

one-stop shopping or both the ne

decorating trends and the people w

aord them: Past shoppers have in

Michael Douglas, Martha Stewart, W

Allen, Oprah Winrey and Sumner

Scattered Light,Jim Campbell.


9/32

For tickets and complete festival calendar, including free events:

WhiteLightFestival.org 212.721.6500Avery Fisher Hall or Alice Tully Hall Box Office, Broadway at 65th Street

Support for Great Performers is provided by:

Rita E. and Gustave M. Hauser

The Florence Gould Foundation

The Fan Fox and Leslie R. SamuelsFoundation, Inc.

The Shubert Foundation

The Winston Foundation

Logicworks

Ann and Gordon Getty Foundation

Great Performers Circle

Chairmans Council

Friends of Lincoln Center

Official sponsorsPublic support is provided by the

New York State Council on the Arts

Corporate support provided by

Endowment support for Symphonic Masters

is provided by the Leon Levy Foundation

Endowment support is provided by UBS

Photos: Sutra: Hugo Glendinning;Judith: Corinne

The Manganiyar Seduction: Roysten Abel.

JudithSutra The Manganiyar SeductionThe Hilliard Ensemble and Jan Garbarek

HighlightsFestival Opens October 28

Antony and the Johnsonswith the Orchestra of St. Lukes,

Rob Moose, director

Performing songs from

The Crying Lightand Swanlights

Saturday, October 30 at 7:30

Alice Tully Hall, Starr Theater

Brahms German RequiemDresden StaatskapelleDaniel Harding, conductor

Sunday, October 31 at 3:00Avery Fisher Hall

SutraSidi Larbi Cherkaoui, directorand choreographerAntony Gormley, visual design

Szymon Brzska, musicChinas Shaolin monks in anexperimental dance production

TuesdayThursday, November 24at 7:30 Rose Theater

Splendor RisingCollegium Vocale Gent ChoirPhilippe Herreweghe, conductor

Works by Brahms, Schubert,Cornelius, and Bruckner

Tuesday, November 2 at 7:30Alice Tully Hall, Starr Theater

JudithKatarina Livljanic, director

and voice

A biblical story fromRenaissance Croatia

Wednesday, Friday, and Saturday,November 3, 5, and 6 at 7:30Stanley H. Kaplan Penthouse

MagnificatTallis ScholarsPeter Phillips, director

Works by Allegri, Byrd, Palestrina,Prt, Praetorius, and Tallis

Sunday, November 7 at 5:00Alice Tully Hall, Starr Theater

Silent PrayerKremerata BalticaGidon Kremer, violin and leader

Works by Auerbach, Kancheli,and Beethoven

Thursday, November 11 at 7:30Alice Tully Hall, Starr Theater

Late-Night ElegiesAlexei Lubimov, piano

The MessengerWorks by C.P.E. Bach, Cage,Chopin, Liszt, Mansurian,Prt, Pelecis, Silvestrov,and Ustvolskaya

Thursday, November 11 at 10:30

ImpromptusComplete Schubert Impromptus

Saturday, November 13 at 10:30Both performances in theStanley H. Kaplan Penthouse

Officium NovumThe Hilliard EnsembleJan Garbarek, saxophone

Friday, November 12 at 7:30Church of St. Ignatius Loyola

Baltic DreamsLatvian National ChoirTnu Kaljuste, conductor

Late-Night ElegyWorks by Martin and Tormis

Friday, November 12 at 10:30Stanley H. Kaplan Penthouse

Bach and Arvo PrtSaturday, November 13 at 7:30Alice Tully Hall, Starr Theater

Credofeaturing members of Sigur R

with the Hilliard Ensemble,Latvian National Choir, andWordless Music Orchestra

Monday, November 15 at 7:30Church of St. Paul the Apostle

The Organ Master:J.S. BachPaul Jacobs, organThe Clarion ChoirSteven Fox, conductor

Bach: Clavier-bung III

Tuesday, November 16 at 7:30Alice Tully Hall, Starr Theater

The ManganiyarSeductionRoysten Abel, conceptand direction

Hindustani classical musicmeets Sufi Muslim roots

WednesdayThursday,November 1718 at 7:30Rose Theater

Tickets start at $25


10/32

The Stars Came Outte es vies see w ill tksgivig By Sara Vilkomerson

FALL ARTS PREVIEWMovies The New Yo

HYPER-HYPED

Due Date,Nov. 5, Warner Bros.Pgig 1987! Due Date, t Pilips llw p ls es spise ss The Hangover,

sees bw l vies lg, Planes, Trains and Automobiles:

tke w ise sges, s e w e ili e e

b gee ei w e. o se, i elps we ple is rbe

dwe J. (plig e pig ig-sg e) Z Glikis (w, , pls

e e e), w e es-wkig s likble gs i hllw. te vie-

gig pbli eil sees e sig p is bi e; e ilewi

ees izzig psil e ijiks (ses i fee s, ks gig ve

ples, m. Glikis lile g) js e ig ki ep ilge sl

llw e w e pl f e e like swbxess le bee viewe ve

l illi ies ytbe. Sew, sewee, Jie Fxx, rZa d mBie

sw p e sweee e el, , well, s well e ve w.

Burlesque,Nov. 24, SonyS les igie is tksgivig

weeke, e bie s

lig ils vie is iv-

ig e se e

liplex, wee ll g w e

wese isi will sel be

p Burlesque. Is i e ex Show-

girls? te ex Glitter? Chicago ixe

wi Moulin Rogue? W kws! B

ees w weve ssse : cisi

agile pls alie, sll-w gil

wi big biis w es Ls

ageles wi e qeble esie

be blesqe e. Sl, e

pwes bei is se Sle

ti (!) ce (!!) gee,

il e e ske b e pwe-

l sigig vie ig peie

lile alie, e is ll ses,

e, mSe l kws

w else. G, we js wi!

Harry potter anD tHe DeatHly Hallows,Nov. 19, Warner Bros.Weve bee wig e vie vesis e h Pe ise el e

wi ell sl give les e es pse. cse kw w? Wile wev

bee wig ese ble ppes g evil wi ws gi, eve bee g

ig p i ls (is i gige zz r Wesles ppe lip? ak!). te

les ile pis e dvi yesiee pi gig i eve ke wes

bee, sew believe sie e pevis islle, Harry Potter and th

Hal Blood Prince, ivlve e e e e s belve es. o se,

js e l e big sebg; e se p Hallows e e e h P

e seies s we kw i will ive i ees ex e. Pepe se Lost-like se

127 Hours,Nov. 5, Fox SearchlightI peple i ig vies seeig, know

g seig speil. a s w s ppee ew

ies w ig viewigs d Bles 127 Hours. te

l is bse e el-lie s a rls, ike w

bg ll ss e eig e pse k

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li mp plig li-bk ike e, s ws pevisl

e), s we like i bes we es plig slppil sill

eflessl isi es. a eebe: Is e

se e-p wi m. Ble s ie -wie Si

Be g ese gs e big wi Slumdog Millionaire.

let me in,Oct. 1, OverturePepleqie esbl!bisle e ews ee w

be aei eke 2008s Let the Right One In. a e

bee ig b exelle bzz ve Let Me In (w e ge

ile we s). diee b Cloverfelds m reeves (w

be elige ve epl e sk ), is e v

e i w e sw bks Swee new mexi

e el 80s. tee, igs see llw e se peise s

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ges bllie il e ees e e sge gil ex ( Kick

cle mez) les w ses ble , , sf. te bes

ews ll? tw ws: ri Jekis. We wi kw

swe i qesi b is eke: Will there be cats


11/32

CLARA AICH/AICH STUDIO*In association with Black Tie International Magazi

and Goodnews Broadcasting

present

GREY GARDENS

Our wish guest list includes Lois Wright, Christine Ebersole, Frances Haywood, Al Maysles daughters - S

Rebekah Maysles, Jessica Lang and Drew Barrymore, Patty Watt (fredandadeleastaireawards.com), Micha

Richard Novak (hamptonsbuildersltd.com), Debbie Tuma, Herbert Fox, Ben Bradlee and Sally Quinn, Ruth Appe

Rattiner (Dans Papers - 50th Anniversary), Ed Callaghan & John Wegorzewski (Alchimia P. R.). They will s

Grey Gardens memories with us.

Albert Maysles (www.mayslesfilms.com) will attend this celebration and

share his memories from the films beginning through these 35 years.


12/32

ALSO ON THE RADAR

FALL ARTS PREVIEWMovies The New Yo

Hereafter,Oct. 22, Warner Bros.Whats an autumnal season without a Clint

Eastwood movie? Matt Damon suits up again

(sans South Arican accent, praise be, ater

last years Invictus), or this dark psychologi-

cal thriller about a guy who can speak with

ghosts. Yes, you read that correctly! Other

people who show up include Richard Kind,

Bryce Dallas Howard, Jay Mohr (hooray!),

Ccile De France and Frankie and George

McLearen, playing the token spookily preco-

cious kid. We just dont know what to think

ater seeing the trailer! Its either going to

be, like, Oscar amazing, or it could take a let

turn and be Knowing amazing. That said, the

great Peter Morgan wrote the script; Steven

Spielberg executive-produced; and you gotta

trust in the Damon and the Eastwood.

tHe Kings speecH, Nov. 26,the Weinstein CompanyI we were the betting kind, the smart money or

early Oscar picks would go squarely toward The

Kings Speech. This thing just seems designed

or award-show glory: Directed by Tom Hooper

(John Adams), it stars the great Colin Firth as

King George VI, who had a rather debilitat-

ing stutter that was holding him back just as

England was headed to war. Georey Rush

(Shine) is the man hired to help him through

it; Helena Bonham Carter plays his wie; and

good lord, Guy Pearce in this, too! So we got

an inspirational tale, Oscar-caliber actors,

English accents, period costumes and royals

overcoming adversity. The Kings Speech took

top prize earlier this month at the Toronto Film

Festivalwatch or it to take home a lot

more statuettes in the months to come.

Morning glory, Nov. 12,Paramount PicturesCasting Harrison Ford to play a crotchety

anchorman who gets put on a morning

GMA-like show with Diane Keaton? Consider

us sold. Rachel McAdams (who should be

working more than she is) stars as a hotshot

television producer who is charged with re-

viving a ailing morning-show program with

two anchors who hate each other.Morning

Glorywas written by Aline Brosh McKenna

(The Devil Wears Prada) and directed by

Roger Michell (Notting Hill), and so were

guessing that this wont be a hoity-toity Os-

car pick, but will surely be good unat one

point in the trailer, Mr. Ford says solemnly,

I wont say the word ufy. Or will he?

WelcoMe to tHe rileys,Oct. 29Its going to be interesting to see what w

with Welcome to the Rileys, a small mo

two people o great interest to very di

ences. Kristen Stewart, patron saint o t

aux-awkward riding the L train, plays a

stripper/prostitute (who will also surely

and awkward) who becomes the perso

o a businessman, played by James Gan

a toss-up which is harder or audiences

themselves rom, Gandolnis Tony Sop

Stewarts Twilightheroine. The good ne

lm also stars the magnicent Melissa L

River), and was written by Ken Hixon (In

the Abbots); it was directed by Jake Sco

Ridley). Were a little concerned to hear

think might be a Southern accent comin

Gandolni (who last did this in the disas

oAll the Kings Men), but were holding

coMpany Men,OThe Weinstein Comp

Hooray, its another

about the craptastic

the economy! Ben A

resh o the giant lo

that happened in th

The Town, stars in th

depressing-looking

E.R.s John Wells. Co

Men (a title we are a

ently unable to rem

ollows three men tr

get through a year i

o the dreaded corp

downsizing, and howtheir lives and amil

estly, ater watching

you might think tha

movies whole damn

considering the rost

involvedin additio

Afeck, theres the a

Chris Cooper, Tomm

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Bello and Rosemarie

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By ChristopherRosen

H

eres the story ohow Jenny Slate frstbecame an Internetsensation: Youreakin just threw an

ashtray ull o butts at my head?she asked ellowSaturday NightLive cast member Kristin Wiigduring the relatively benignfnal sketch o the shows seasonpremiere last September. Youknow what? Ms. Slate continued,you stood up or yoursel, and Ifuckinglove you or that. Oops.

The Brooklyn-based per ormer,28, may have shot to notorietyater that little slip-up, but soonshe was standing out among thecast or creating unny and sharpcharacters. (Remember Tina-Tina Cheneuse, an entrepreneurwho delighted in creatinghilariously personalized alarmclocks and car horns using her

own voice?) Not surprisingly,when it was announced that Ms.Slate wouldnt be returning toSNL or a second seasonJoanCusack, Sarah Silvermanand Janeane Garoalo arejust three other one-seasonwonders who rose to eventualsuccessit seemed like the

FALL ARTS PREVIEWTelevision The New YoForget About SNL! Jenny Slate Has a Full F

Were not bored! Galifanakis,

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FALL ARTS PREVIEWTelevision The New Yo

entire Internet was crestallen.Speaking last week with

The Observer about herdeparture romSaturdayNight Live, Ms. Slate appearedto be more comortable withthe decision than was herburgeoning an base.

Being withSNL was a lovelyexperience, she said. It reallygot my blood pumping in manyways. Not just doing the liveshow, which o course is such atotal thrill, but growing in theway that I did as a writer andperormer. It was one o thebest things that could happento me as a perormer. It wastruly a pleasure to work there.

I Ms. Slate sounds at peacewith theSaturday Night Live decision, thats probablybecause even though shes stillin her comedy inancy by moststandards, shes by no meanstaking her career in baby steps.

This all, shell return to co-staropposite Jason Schwartzman,Ted Danson and ZachGalifanakis in the second seasono the buzz-worthyBored toDeath, the HBO comedy createdby author Jonathan Ames. Ms.Slate plays Stella, the perpetuallystoned and well-meaning

girlriend o Mr. Schwartzmansstruggling writercumprivateeye, Jonathan Ames.

Bored to Death is a supersexyshow because Jonathan Amesis a very sexy person, Ms. Slatetold The Observer. There aresexy things and pot smokingand drinking. So thats alwaysgood. To that end, expect tosee Stella and Jonathan enterinto an open relationship toincreasingly hilarious resultsas the season progresses.

On a more amily-riendlynote, Ms. Slate has alsodelighted viewers o all ageswith the recent stop-motionanimated shortMarcel theShell with Shoes On. Ms. Slatevoices the titular Marcel, anincredibly earnest shell (withshoes on) who walks a would-be documentarian throughits day-to-day lie: You knowwhat I wear as a hat? A lentil.

Ms. Slates boyriend,editor-director DeanFleisher-Camp, collaboratedwith her on the short.

Dean and I came up withMarcel when we were awayor the weekend, and I wastalking in that little voice,said Ms. Slate. I dont know,

we both sort o glommed onto the character and decidedto make this little thing. Wedidnt even intend to put it onthe Internet; we just made itbecause there was so much init or us to do. Luckily or us, itjust turned into this thing thatmade people happy. SinceMarcelthe Shell with Shoes On debutedin August, nearly one millionpeople have watched the v ideo.

For me, that is the greatestreward, and its one o the mostwonderul things that happenedto me in my adult lie.

The happy success o Marcelaside, however, Ms. Slate said sheis most proud oBored to Death.

I personally have alwayswanted to be on an HBO show,

she said. When I graduatedcollege, I had this wish list,and one o the things wasto be on an HBO show. Itwas the frst job I got.

It was also convenient. I l ivein the neighborhoods where allour characters live. Last year,or season one, it was reallyexciting: Oh, I just got this jobwith these awesome actorsand the script is so awesomeand one o my avoriteauthors is writing it and all

I have to do is walk out tIt was pretty serendipit

The one problem Ms. withBored to Death: It mher out o her own apartBored takes places in anBrooklyn neighborhoodas Fort Greene, BoerumCarroll Gardens and CobHill, and it could take thalready high profle evenSometimes Im scared the show is going to maktoo popular and my rentgoing to go through the

And, because shes clenot busy enough, Ms. Slafnds time to co-host thecomedy show Big TerriCameo in Williamsburgcomedian Max Silvestriher comedy and nonsexlie partner, Gabe LiebmThere, she says, she loveinteracting with ans.

Some people say, I d

to be weird and come upMs. Slate said. But I lovpeople come up to me anto ask me questions aboor aboutBored to DeathSNL. I love it! I always wbe an actress, and I enjolittle piece o being a pe

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17/32

Michael Friedmanputs thingsinto words or aliving, but he evenhe has troubledescribing what

a tumescent penis should soundlike. Theres got to be a veryspecic tone, you know? hemulled recently over Thai oodin the Theater District, a placethe downtown artist has beenspending much o his time lately.I think itll be something verysubtle. A bell or chime. Maybe.

Mr. Friedman, 35, wasdiscussing sound design or

Angels in America, the rst o twohotly anticipated mainstreamtheater projects that eature histalents as a composer-lyricistthis all. The show, SignatureTheatre Companys O Broadwayrevival o Tony KushnersPulitzer Prizewinning gayantasia, ocially opens Oct. 28,

preceded by Mr. Friedman anddirector-writer Alex TimbersBroadway debut, the historicalemo-rock musical comedy (andvery buzzy)Bloody BloodyAndrew Jackson, opening Oct. 13.

Mr. Friedman is a rapid-retalker, one who jumps rommusical asides (I love tubas.Seriously) to sel-depreciation(Sometimes my ideas are justreally bad) like a verbal stone-skipper. (For the record, thattumescent penis tone wasntirreverence; it occurs everytime theAngels angel appearsto leading man Prior Walter,

played by Christian Borle.)With both productions poisedpreopening to be hitsAngelshas already extended itslimited run, whileBloodyBloody Andrew Jackson wasthe Publics second-highest-grossing production ever duringan O Broadway run this past

springMr. Friedmans staringdown what will assumedly be hiscommercial coming-out party,something the avant-pop melodymaker, more closely associatedwith ringe troupes like theCivilians than big Broadwayshows, isnt opposed to.

I hate people who arelike, Oh, no, Broadway? Idont care about that. ItsBroadway musicals! Come on,thats exciting, he explained,gesturing broadly with the kindo lithe, oversize hands that area genetic lottery win or pianoand string players, which he is.

But I wouldnt say Broadwaywas ever a dream or me.A graduate o Harvard, where

he studied American history andclassical music, Mr. Friedmanconsiders his ascension romurban planning consultant(yes, really) to legit composera fuke o timing acilitated by

ormer proessor Liz Swados,who threw him early gigs. [Inthe late 90s] directors andplaywrights were using songs inplays more. People liked weirdlittle music. I could do that. I sorto became the go-to guy i you

wanted some music in ybecause I would work o

Which is selling himsshort. Music direction productions like Shakesthe Parks Cymbeline evmorphed into ull-on so

Composer Michael Friedmans

Very Big FallBy Kimberly Kaye

FALL ARTS PREVIEWTheater The New Yo

Composed: Michael Friedman.


18/32

lyrics writing with interview-based

troupers the Civilians. Through showslike the journalism-inused New LieChurch study This Beautiful City,anatic Christianity dramedySaved andurban living reection Gone Missing,Mr. Friedmans built a name as aninsurgent observer, one requentlyable to squeeze an aecting body oinsight through the keyhole o parody.

I consider Michael to be a KurtWeill or our times, says hisBloodyBloody collaborator, Mr. Timbers. Hismelodies can be almost deceptivelysimple but the subject matter isso complex. The way he twistssomething like, say, hagiographicsocialist concepts into a song you cansing along to is pretty brilliant.

Brilliant isnt a word Friedmanis entirely comortable with. Withregard to his place in American

songwriting, he personally preers thetitle anthropologist. And its true, noone defnition is entirely accurate, givenhow diverse his body o work alreadyis. InBloody Bloody Andrew Jacksonhe runs the gamut rom satiristreducing the principals o populismto tongue-in-cheek show openerPopulism, Yea Yeato historicaladapter, distilling President AndrewJacksons real 1824 campaign ditty TheHunters o Kentucky into a western-tinged theme song ft or iTunes.

Mr. Friedman said he alreadyhas three ambitious new projectsin the works: The Great Immensity, a

play with mabout the genvironmeporn examPretty Filth

newest piece with the Civilians

songs covering everything romdiscovery squirter porn to theaair o the industrys leading mcouple; and Mr. Friedmans pet an adaptation o Jonathan LethFortress of Solitude. With thesetoward transcending the satirsince the occasional issue with that people miss when the authearnestwhich the composer is. Take a slice oBloody BloodyJacksons Illness as Metaphorexample: A wise person once saIllness is a metaphor But SusaSontags dead/ So I guess/ Her cwasnt metaphorical ater all

People whove seen the showhate Susan Sontag because o thnothing against Sontag, Friedmlaughed. I think shes antasticthat lineillness ISNT a metap

shes dead, right? But thats howSo, with two openings ast

approaching, does Mr. Friedmathe pressure o commercial thescrutiny? Not really? he saihave a harder time coming to tewith being a composer. I cant say that sometimes without gigI was at a dinner table with StepSondheim a while back and he ame what I did. I didnt want to teHow do you look at Stephen Sonand say, Oh, I do whatyou do? cant wrap my head around that

[email protected]

FALL ARTS PREVIEWTheater The New Yo

Bloody Blo

Scenes from

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Jackson.

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The opera set pieces, artinstallations and stagedesigns o Soviet-bornGeorge Tsypin share a

glimmering strangeness. Withdazzling lights, shiny suracesand strange angles, it is as ireality were heightened, or as ithe subconscious had somehowtaken over the spaces he designs.

Nonetheless, Mr. Tsypin wasquite apprehensive when herst read the script oSpider-Man: Turn On the Dark. Whilethe iconic comic-book hero hasswung, in spectacular ashion,rom the pages o the comic bookto towering buildings in themovies, Mr. Tsypins challenge

Swinging forthe RaftersSpider-Man set designer opts for a pop-up

Peter Parker By Robert J. Hughes

FALL ARTS PREVIEWTheater The New Yor

is to make Broadway audienceseel the same elliptical thrillwithout Hollywoods greenscreens and special eects.

I thought, he said, Well,this is completely impossible.

Mr. Tsypin andSpider-Mandirector Julie Taymor are taskedwith bringing the web-slingerto Broadway as a musical with

songs by Bono and the Edge.The much-delayed production(it opens Dec. 21) has been thesubject o endless theatricalspeculation as to whetherBroadway newcomer Bono canhelp crat a spectacle that willplay to the crowds long enoughto recoup its considerable

investment. (The productioneatures elaborately costumedvillains, t he Sinister Seven,

including a deadly serratedmetal villainess dubbed SwissMiss.) That, like Spider-Manhimsel, is still up in the air. ButMr. Tsypin said he has one secretweapon. In theater, Mr. Tsypinsaid, anyone fying is exciting.

Mr. Tsypin and Ms. Taymorare ar rom new to working

together. George and I havecollaborated on ve operas,said Julie Taymor, among

them the lavish and popularproduction o Mozarts TheMagicFlute or the MetropolitanOpera, which eatured aplexiglass plastic box etchedwith Egyptian hieroglyphs andMasonic symbols. His workconsistently pushes the envelopeand is always wonderully

Interior of the Oscorp Lab.

Set designer

George Tsypin.


21/32

The New York Observer | September

His work, said longtime collaborator Julie Taymor, is

simultaneously intimate and theatrically dangerous.

FALL ARTS PREVIEWTheater The New York Observer | 21

thrilling. she wrote in an email.For the solution to hisSpider-Man

design problem, Mr. Tsypin said, theyreread the comic book: Marvel Comics1962Amazing Fantasy , where Stan Leeand Steve Ditko introduced the originaliconic antihero. Impressed with theprimitive, primal power o Mr. Leescreation myth and M r. Ditkos boldillustrations, and had the idea to bringthe comic book to lie in a d ierent waythan the hyper-realism o the movies.My impulse was to ta ke graphic comicbooks and explode them into 3-D space,almost pop-up style, Mr. Tsypin said.That way, he says, he can preserve theperiod quality o the original comicbooks and sidestep the slicknesso the lms. The goal is to create

immersive, environmental theater.Fans o Ms. TaymorsThe Lion Kingwill remember how that musical opens,with a parade o elegant, human-sizeanimal puppets o the Arican savannahcoming up the aisles alongside theaudience and taking their places on thestage, drawing the audience in withthem, as it were. But here, the immersiongoes much urt her. The entire theateris where the story takes place, Mr.Tsypin says. Not just the stage. Iwanted to make it an environmentwhere every member o the audiencealmost eels as i theyre part o it, notjust looking at a sma ll Peter Parker orSpider-Man jumping over buildin gs, butcreating an image o New York that isperceived as i you were Spider-Man.

George has managed to combineboth the original Marvel aesthetic with

his own truly unique expressioniststyle, wrote Ms. Taymor in an email.Georges extraordinary use o spacehas successully made our hugetheatre eel simultaneously intimateand theatrically dangerous.

Bringing the audience urther intoa created world is a hallmark o M r.Tsypins designs, and o his work asan artist a nd sculptor. Invited to showat the Russian Pavilion at the 2 003Venice Biennale, he rst lled therooms with a ew eet o water. Light

refected o sculptures in the water aspeople walked gingerly through thespace on planks, creating, Mr. Tsypinsaid, a sense o being un stable, as ipeople were moving through h istory.The work, he said, was a commenton the shiting history o Moscowand St. Petersberg, by way o Venice.Mr. Tsypin studied architecture inMoscow, and architectural traininghas been a key to his designs, he sa id:how the environment o the physicalstructure makes a person, a spectator,an inhabitant eel. (He admires, amongothers, Jean Nouvel and Frank Geh ry.)

Designing or a Broadway show ismuch more complicated than designingor opera. With Broadway, yourecreating a machine. I youre lucky, a

machine that should run a long time.Youre creating an entertainment orthe mass audience. In opera, whererst o all, its about the musicwhichis slowi you have a big sceniceect in each act, youre lucky. ForBroadway, you have to have a bigeect every two or t hree minutes.

So amid the shiting perspectiveo buildings and moving pieces, themusical has, like certain operas,two big set pieces. One involvesSpider-Man discovering his powers,in which he jumps rom building tobuilding in ull vertiginous thrallto his sudden gits. The secondinvolves a climactic battle betweenSpider-Man and the Green Goblin.

At the Foxwood Theatre, Spider-Manwill fy through the house and ontothe balcony, the wall severywhere.

And the scenery will be placed, as itwere, throughout the house, and shitalong with Spider-Mans fights. Theentire environment weve createdis kinetic and dynam ic, Mr. Tsypinsays, but you al so see New York roma dierent perspective, as i you wereable to jump buildings a nd to fy overManhattan. Its a whole dierentexperience o New York. And New Yorkis, o course, as important a chapter inthis story as Spider-Man himsel .

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A Spider-Man set in progress.

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22/32

Bloody Bloody Andrew Jackson, Bernard B.

Jacobs Theatre, Oct. 13

Alex Timbers and Michael Friedmans emo-

rock musical presents Old Hickory as a moody

teen and the country in growth spurts o

adolescence. It arrives on Broadway ater a

sold-out and lauded run at the Public Theater

last seasonand ater star Benjamin Walker

dropped out o the new X-Men movie to stay on

as Jackson.

Driving Miss Daisy, John Golden Theatre,

Oct. 25

Vanessa Redgrave and James Earl Jones star

in the Broadway debut Alred Uhrys Pulitzer-

winning 1987 play (it ran then o-Broadway, at

Playwrights Horizons) about the unlikely riend-

ship between a Southern Jewish woman and the

black man hired as her chaueur.

Angels in America, Signature Theatre, Oct. 28

The Signature devotes each season to a single

playwright, and its kicking o a Tony Kushner

year withAngels in America , his sprawling take

on the United States in the 1980sa gay an-

tasia on national themes, he subtitled it. Its the

frst New York revival o the Pulitzer winner since

its 1991 premiere, and the two partsMillennium

Approaches and Perestroika will be perormed

in repertory.

Women on the Verge of a Nervous Breakdown,Belasco Theatre, Nov. 4

Pedro Almodvars 1988 flms has been adapted

as a musical by playwright Jerey Lane and

songwriter David Yazbek, the team behind Dirty

Rotten ScoundrelsThe Lincoln Center Theater

production is directed by Bartlett Sher (who

directed LCTs blockbuster South Pa

seasons ago; the cast includesdee

Patti LuPone, Brian Stokes Mitchell, S

Scott, Laura Benanti, and that great

legend, Justin Guarini.

Merchant of Venice, Broadhurst TheAl Pacino returns as Shylock or a 78

mance limited Broadway run o Merc

Venice ater a very successul Shakep

Park outing this summer. The Daniel

production will also bring back the s

Lily Rabe as Portia, plus several othe

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A Life in the Theatre, Gerald Schoenfeld

Theatre, Oct. 12

This revival David Mamets 1977 two-hander,

about the changing relationship between a

younger actor and an older one sharing a

dressing room, stars T.R. Knight and Patrick

Stewart.

Rain, Neil Simon Theatre, Oct. 26

What appears to be ormally titled Rain ATribute to the Beatles on Broadway promises

a totally live, note-or-note perormance that

mimics every song, gesture and nuance o

the legendary group. It could be awul, but it

could also be ascinating.

Scottsboro Boys, Lyceum Theatre, Oct. 31

Susan Stromans extraordinary staging o the

hal-posthumous Kander and Ebb minstrel

show about a particularly sordid incident in

Americas generally sordid history o race

relations debuted at the Vineyard Theatre early

this year with a book that was less strong than

the production. Ater an out-o-town run at the

Guthrie Theater in Minneapolis, its

New York tweaked and somewhat r

The Pee-wee Herman Show, Stephe

heim Theatre, Nov 11

Pee-wee Herman was frst introduc

world as a stage show, developed b

bens with Groundlings comedy trou

Angeles. Now, ater movies, a CBS S

morning show, an incident in Sarasofnally, a successul return to the sta

at the start o the year, The Pee-we

Show arrives in New York.

Free Man of Color, Vivian Beaumon

Nov 18

Lincoln Center Theaters otherantic

production is John Guares new com

Man of Color, depicting lie in hedon

Orleans just beore the Louisiana Pu

rected by George C. Wole, its a hu

tion (to ft the huge stage at the Be

with a cast o 32 led by Jerey Wrig

Angels in America.

H


23/32

davidtorch

FALL ARTS PREVIEWMusic The New Yo

Marnie Stern waswaiting or herrhythm guitarplayer. She stoodin a crampedpractice room near

Penn Station, stacks o amps,keyboards, microphones, a drumkit, the other two members oher touring band and our wallsclosing in around her. Her eight-week tour o Europe and Americaapproaching ast, only ourpractices let ater today. Ms.Stern umbled with the reverband delay pedals or her guitar.

So the out goes intoSansAmp and the ingoes into reverb?

The drummer, VincentRogers, skinny, with a patchybeard, buzzed head and armscovered in tattoos, laughed.

Maybe we should get you apedal board so you dont haveto deal with setting up?

Nithin Kalvakota, the bassist,was hunched over a red Squireaclunker, he called it, and he

was right: It was missing astring, and one o the tuningknobs was coming loose.

Where is Joe? Ms.Stern asked him, thoughthe question was almostrhetorical at this point.

Maybe hes having anexistential crisis, Mr. Kalvakota

The Unlikely Guitar HeroBy Michael H. Miller

said. Do you remember whenI had my existential crisis?She nodded knowingly.

So are we just starting atthe beginning and playingthrough? Ms. Stern asked.

Yep.They struggled through For

Ash, the rst song on Ms. Sternssel-titled album. On the record,the song, loud and immediate,begins as i it has already beengoing on or an hour. Ms. Stern,as usual, plays a righteninglyast guitar ll, somewherebetween Eddie Van Halen

and Tony Iommi. Her regulardrummer, Zach Hill, pounds outve beats, the rhythm dicultto place. Then the song takeso with a change in tempo. Theast ri, strange now becauseo the new time signature,continues in the background but

is overtaken by thick chMr. Hills playing becomrelentlessly renetic. Mvoice comes in, screechweirdYoko Ono rom ast guitar lls are piledwhile Mr. Hill plays alonthe vocal melody, everynearly overwhelmed byThe tempo changes oncThe song sounds like it collapse under all the enThat is only the rst mi

Today, however, somwas missing. The band playing at the same timtogether. Ms. Stern cano those guitar parts byShe doesnt have enougThe practice space shoonoise. A coee cup ell ospilling some o its contStern crossed the roomthe cup up o the foor whatever was let in it, continued playing, halThe room was loud and and the song never real

It is what it is, Mr.

Rogers shrugged.Ms. Stern sighed. Ware we gonna do?

Marnie Stern is Ms. Sthird album. In the pastsacriced songwriting wizardry, but here she on perorming 10 complistenable songs, withou

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FALL ARTS PREVIEWMusic The New Yorany o her abrasiveness. Thealbum shows her at her mostcomortable place musically,but it was written and recordedout o turmoil. The songscame sporadically during asongwriting rut, a writersblock that Ms. Stern alls in andout o periodically. For Ashis about an ex-boyriend whorecently killed himsel. He wasthe reason, Ms. Stern says, shestarted playing music seriouslyin the rst place. His presencellsMarnie Stern, a recordboth nostalgic and terriying.

Thirty-our years old, Ms.Stern was born and raised inNew York. She began playingthe guitar at age 15. She tooktwo lessons and toyed with theinstrument halheartedly untilshe graduated rom N.Y.U. Shebegan playing eight hours a day,practicing until she masteredthe six-string, but neverevennoweeling satised. She playspredominantly in a style calledtapping, which you probablyrecognize rom Van HalensHot or Teacher. Both hands

are synchronized on the retboard, the right hand tappingthe strings instead o pluckingor strumming while the let, inturn, pulls o and hammers-on to the strings, creating aharmonized sequence o noteswith no breaks or silences. Theway Ms. Stern does this creates

the eect o two guitars playingtogether at once. At times shedoes so in ast-orward, as in theopening measures o For Ash,her hands a blur o movement;at others, slow and graceul,lled with restraint like thealbums closing song, TheThings You Notice. To see theway her ngers move in personis more like watching someoneplay a grand piano dangling

rom the neck, her handsdelicately pressing the stringsas i they were keys. The criticaldiscussions about Ms. Sternmainly ocused on her genderwhen she released her debut,2007sIn Advance of the BrokenArm (a reerence to MarcelDuchamps sculpture o the

same name, but more related tothe act that Ms. Stern soundedlike her arm might break i shekept playing so ast). Certainly,Ms. Stern doesnt look like aguitar hero. Shes pretty, petiteand blond. She has a sot voicebut a dirty mouth, cursing everyother word. Her touring band

calls her diva, with a little d.Well, when youre on tourwith a bunch o dudes who areso not d, she said in deense,its easy to look like a d whenyou want scented shampoo.

Based on her skill with a guitaralone, Ms. Stern has earned theright to call hersel a Diva, but

she is humble (accountithe lower-case d). Sheabout being mainstreaunoriginal, which is lher music bursts with cand strange energy. Heverges on fat-out disho

I do a couple things fashy and seemingly in

For Ash is about

an ex-boyriend

who recently killed

himsel. He was

the reason she

started playingmusic seriously in

the frst place.

Stern.

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The New York Observer | SeptemberFALL ARTS PREVIEWMusic

Ms. Stern said. Ninety percento the people I know play guitarjust as well as me. And that isucking true. I can play prettywell. But so can most people.I want to be judged equally.Really place me where I am as aperson, not as a ucking girl.

Once the novelty o a emaleshredder wears oand atthis point, ater three excellentalbums, it hasit is obviousMs. Stern is abnormally gitedtechnically. She is sel-taught,and her style, besides certaintouchstones like Television,Frank Zappa and 80s hardrock, is dicult to place: theprecision o heavy metal with,at times, the gaudiness o blues;the restraint o early R&Bwith the menace o punk.

I dont know how Im goingto play this ucking song, Ms.Stern said ater a rough run-through o The Thin gs You

Notice. The song is about anotherex-boyriend, Matt Flegel, o theband Women. Mr. Flegel playedbass on Ms. Sterns record.They were dating at the ti me.

You could change thewords, Mr. Rogers said.Make it a uck you song.

Ms. Sterns eyes lit up. It

seemed a viable option.The question o how to play any

o the new songs live loomed overthe room. In the remaining dayso practice, Ms. Stern must teachher touring band t he new albumsarrangements, relearn her guitarparts, coordinate her hands sothat the movements are secondnature and then sing on top o allthat. Her entire body goes intoperorming a song. Everyonelooked a little nervous. Finally,the rhythm guitar player, JosephTirabassi, arrived. He carrieda small notebook flled withnotes about Ms. Sterns songs.

Im really sorry, he said.Its O.K., its O.K., Ms.

Stern said. Is it smoke time?Mr. Kalvakota jumped upexcitedly. The band, flledout at our members, headeddownstairs or a cigarette.

Did you get Courtneysemail? Ms. Stern asked them.

Courtney is their tour manager.A venue wanted them to play a90-minute set. They all scoedin disbelie. I told her whenpeople ask i we can do an hour-and-a-hal set to tell them, No.I like to play or 30 minutes, butyou cant do that a nymore.

Youre not the opener

anymore, Mr. Kalvakota said.Ms. Stern did not respond,but she knew it was true.

Time was running out. Theyonly had the practice space oranother hour, and there wasstill a great deal o work to bedone. It was time to tr y ForAsh again. Back in the room,Ms. Stern took a seat and slungher guitar around her neck.

You know its Ashs birthday?she said to no one in particular.She tapped the strings o herguitar, loud and ast, but shemissed the timing, starting ahal-beat too soon. The wholesong was thrown o. She cut othe band, and they tried again.

Hey, play the downbeat onthat, she told the drummer.You two play or a minute.She bounced her head gentlywith the music, eyes closed.Then she began playing, in timenow. The an was on, but the

band started to sweat almostimmediately. The drums andbass kept time like clockwork,the rhythm keeping Ms. Stern incontrol while her fngers movedalong the strings o her guitar.They got it right this time.

O.K., she said. Whats [email protected]

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Nemesis, Philip Roth

Polio is the villain o Mr. Roths 31st

book, which returns to the Newark

o his childhood in 1944. All o Mr.

Roths books o the past decade

since The Dying Animalin 2001have

been meditations on mortality, but

his orays into the past, like 2008s

Indignation, have been the most

successul. The hero o Nemesis is

Bucky Cantor, a 23-year-old play-ground director who must keep

up the spirits o the neighborhood

youth in the ace o an epidemic

that has elled even the president.

Griftopia: Bubble Machines, Vampire

Squids, and the Long Con That Is

Breaking America, Matt Taibbi

Mr. Taibbi, the oul-mouthed scourge

o Americas corporate overlordshe

memorably called Goldman Sachs

a great vampire squid wrapped

around the ace o humanity, relent-

lessly jamming its blood unnel into

anything that smells like money

has been heralded as his genera-tions Hunter S. Thompson and by

none other than Thompsons editor,

Jann S. Wenner. Reading Mr. Taibbi

at book length will either bare out

this notion or else show him to

be a snappily vulgar packager o

let-wing talking points or Rolling

Stones rat-boy subscriber base.

The Masque of Africa: Glimpses

of African Belief, V.S. Naipaul

In 2004, Mr. Naipaul declared, I have

no aith in the survival o the novel,

implying that he would write no more

ction ater that years Magic Seeds.

In 2007, he issuedA Writers People ,

an exercise in literary demolition

with unfattering portraits o Derek

Walcott and the late Anthony Powell.

Now, turning his ocus on witchcratin Arica, he returns to the orm

or which he may be best remem-

bered, contrarian travel journalism.

Luka and the Fire of Life,

Salman Rushdie

Mr. Rushdie has appeared to be in

retreat rom his trademark contem-

porary globalized magical realism

since 2005s Shalimar the Clown.

Luka sees him return to the childrens

airy tale, a genre he last visited in

1990s Haroun and the Sea of Stories,

a book beloved by its adherents,

published just ater Mr. Rushdie hadgone into hiding rom the Ayatol-

lah Khomeinis atwa. That period

will be the subject o Mr. Rushdies

next book, a memoir, which is the

one weve all been waiting or.

Decision Points, George W

Ater two years o near sile

Americas avorite unreliab

rator returns to tell the sto

two terms as the nations

No doubt the book will pro

rm answers to such ques

Why did we invade Iraq? W

a budget surplus squande

a gargantuan decit? Why

the richest Americans delia decade-long tax bonanz

why did the American eco

collapse just as Mr. Bush w

preparing to return to Texa

FALL ARTS PREVIEWBooks The New YoOf Polio, Potions and Presidents

A guide to this alls literary heroes and villainsBy Christian Lorentzen

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The New York Observer | SeptemberThe New York Observer | 27

Travels in Siberia, Ian Frazier

Mr. Fraziers road trip through Siberia, undertaken in 2001, have put to

great use his descriptive powers, his sympathetic eye and his ability to

weave history into an intimate personal narrative. Recently excerpted at

great length in The New Yorker, the book sees one o our best journal-

ists blazing a trail through trash-ridden roads, rozen ormer gulags

and vast barren wastelands o one o the strangest places on earth.

How to Read the Air,Dinaw Mengestu

The Beautiful Things That Heaven Bears , Mr. Mengestus 2007 debut,

was hailed by The New YorkTimes as a great Arican novel, a great

Washington novel and a great American novel. His sophomore eort is

more expansive yet, ollowing a son o Ethiopian immigrants who breaks

with his own lie in New York City to retrace the steps o his parents

journey to America, rom Addis Ababa through the American South.

The Instructions, Adam Levin

Gargantuan, antic and relentlessly violent, Mr. Levins 1,000-plus-

page debut seeks to meld the tradition o the tough Jewish hero

(rom David and Goliath to the novels o Mr. Roth) to the sprawl-

ing, ootnote-drenched metactional epics o David Foster Wallace.

It may be most remarkable or inusing the whimsy (the hero is a

10-year-old) o the McSweeneys set with a real sense o menace.

Inferno (a poets novel), Eileen Myles

A denizen o the East Village and a mainstay o the downtown poetry

scene, Ms. Myles in this autobiographical book charts her progress rom

the Catholic environs o Arlington, Mass., to the Manhattan o the 1970s,

where she comes into her own as a poet (and a lesbian) and alls in with

the likes o James Schuyler, Kathy Acker, Alice Notley and Ted Berrigan.

Theres a Road to Everywhere Except WhereYou Came From, Bryan Charles

Mr. Charles moved rom to New York to become a writer, but on Sept.

11, 2001, he ound himsel an ofce worker or Morgan Stanley in the

World Trade Center. A novelist and music writer, Mr. Charles here mines

a genre (the Midwesterner adrit in the city) perennial to our literature

since F. Scott Fitzgerald, who never had to deal with alling towers.

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FALL ARTS PREVIEWBooks

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The New York Observer | September

You see, I dont playroles. I fnd coloror every roleinside o me. The

soprano Marina Poplavskayalikes to talk about how she seesmusic as colors. She is also givento morbidly poetic ormulationslike Let the harmony penetrateyou like a silent knie throughyour heart. She quotes reelyrom Peter Brook, Madame dePompadour and Pushk in; she hasno Web site, Facebook, or Twitter;her avorite singer, AmelitaGalli-Curci, retired rom opera in1930. Moody and introspective,a serious student o history,literature and stagecrat, she iseccentric but somehow rereshing,an antidote to the blandlyproessional, smaller-than-liecontemporary opera singer.

Only a ew years into her career,shes already attracted majorattention, appearing in leadingroles around the world. GayTalese has traveled with her oran upcoming profle in The New

Yorker. (Marina PoplavskayaHas a Cold?) And this all, atjust 33, she will attempt therare eat o starring in two new,back-to-back productions at theMetropolitan Opera:Don Carlo,in November, andLa Traviata,which opens on New YearsEve. She is, in other words, on

FALL ARTS PREVIEWOpera The New Yo

the verge o becoming a star.You cant call it ordinary, Ms.

Poplavskaya told The Observerin a phone interview romBarcelona, where she is singingMicaela in avant-garde directorCalixto Bietos production oCarmen. Its going to be hugework ahead or me, not onlyphysically, because its a longsing or the voice, but also onmy mind and heart and on mysituation as an actress. Its a huge,huge challenge or me, but Imanticipating it, she said, laughing,because Im kind o weird.

Good singers are always indemand, and Ms. Poplavskayais very good: In a 2008 videorecording o Verdis Otello, hervoice is steely but seductive, witha smoldering darkness to the tone,and she has a magnetic stagepresence thats physically earlessand yet careully restrained.But her doubleheader this allis nevertheless highly unusual.Another Russian soprano,Marina Mescheriakova, got

three new Verdi productions atthe Met a decade ago, but theywere spaced over 15 months.In 2007-2008, Natalie Dessaystarred in two new productionsin a single season, butLuciawas in September andLa Fille du Regimentnot until April. Bycontrast, the new Traviata opens

A Divas

DoubleheaderBy Zachary Woolfe

13 days ater the fnalDoIt wasnt planned this

Angela Gheorghiu was oslated or theDon Carlo,by Nicholas Hytner, wheoriginally premiered in Lin 2008, but she droppedand Ms. Poplavskaya jumin. Anna Netrebko, who inLa Traviata when WilDeckers production premSalzburg in 2005, was suto bring it to the Met, buwant to compete with herecording. Ms. Poplavskastarred in the productioin Amsterdam last year, perect senseshe was, all, already going to be in

Its a great opportuniher and the Met, said gemanager Peter Gelb in a interview. I she has a gsuccess, it will be a way to establish hersel verywith the Met audience. very gited, she has a vertheatrical presence, and she has a stu nning succe

Ms. Poplavskayas serlucky breaks caps a whirascendancy that she sayshe never predicted.

Beore I was 18 yearsshe said, I thought thatbest thing or me would as an artist in a big chorunever thought o mysel Poplavskaya.


29/32

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FALL ARTS PREVIEWOpera The New Yo

soloist. I never thought omysel perorming these roles.O course I dreamt, listenedto great singers, and I loved toact, but it was never real ity.

Ms. Poplavskaya was born inMoscow to scientist parents in1977. She began studying voicewhen she was 14, but she wasalso a swimmer, played harp andviolin and danced ballet. Shedislikes competitions, but shewon several, and joined the youngartists program at Londons RoyalOpera in 2005. Her breakthroughcame in a concert perormance oHalevysLa Juive the next year;The Times o London said she wasalready displaying the voice,musicianship, and temperament oa great diva. (The temperament oa great diva, indeed: Shes alreadybeen married and divorced twice.About troubled relationships, shesaid, Im not going to work thingsout. Its not a working-out room,its not the gym. You cant trainyour soul at a gym to love someonewho does not understand you.)

She debuted at the Met in2007, as Natasha in Prokoevsepic War and Peace, but has sinceappeared with the company onlyin the supporting role o Liu inPuccinis Turandotlast all. Thesetwo high-prole new productions,then, are a coming-out the likeso which youll rarely see.

The stage is built so it involvesyou in the production, especiallythe Traviata, she said. The waythey built the set is very, verysimple and into the auditorium,so the auditorium is the mainparticipant in this production.That is also one o the goals oNicholas Hytner withDon Carlo.Its nothing unnatural, and whenthe stage stays clean, it asks morerom the singing actors, becausethats what we are in these twoproductions. I youre just a singer,youll be lost immediately. Youcant hide behind the beautiuldress or behind the beautiul tableand just think about the vocal line.

TheDon Carlo may be spare,but the Traviata is abstract andsurreal, as radical as a repertorystandard has ever been at the Met.Its success will largely dependon whether Ms. Poplavskaya canconvince an audience that booedLuc Bondys Tosca that giantclocks, contemporary urnitureand lots o open space can yieldan emotional experience rawer

and more vivid than overstufedopulence. Its her moment.Its coincidence that has her

doing these two new productionsin the same season, said PeterGelb. But, on the other hand,out o coincidences sometimesgreat things occur.

[email protected]

Rene Pape.

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Christie.

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Firebird celebrates pre-Revolutionary Russia in a Theatre Districtbrownstone replete with jewel-toned furnishings and crystal lighting. The

menu features classic Russian specialties such as borscht, chicken Kiev and

an extensive selection of ne caviar. Nothing compliments caviar better than

vodka and Firebird has plenty to offer; 200 labels, in fact, so youre sure

to nd one to your liking! Patrons may opt to try the caviar-tasting menu,

starting at $50 and including 3 vodkas, 3 samples of mouth-watering caviar,

along with the blini, dollop of sour cream and usual accompaniments.

Theres also a prix-x menu starting at $45, consisting of 3 delicious

courses and a wide variety of selections. This veritable landmark

restaurant is located at 365 West 46th Street and they look forwardto helping you plan your next, festive occasion or assisting with your

reservation by calling 212 586-0244. Firebird is open for lunch Tue-Sat

and for dinner Tue-Sun nights. For more information, please visit:

www.frebirdrestaurant.com

What every neighborhood needs is a quaint, unassuming casual spot

for French bistro classics and Madison Bistro at 238 MadisonAve. NY, NY 10016 is just that. Under the guidance of owner/chef Claude

Godards culinary wizardry (and mastery), the menu consists of well-

prepared French fare with an emphasis on comforting selections, as

highlighted by his stewed codsh, rabbit loin, and scrumptious short ribs.

Of course, there is a nice selection of rustic French wines to pare with the

tempting cuisine. Mr. Godard offers a wonderful prix-xe, three-course

lunch menu for $24.50 and dinner at $35 both of which deliver great

value for your modest outlay.All credit cards are accepted and reservations can be made by calling

212.447.1919. www.madisonbistro.com

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10:30pm, Fri & Sat: 4:30pm - 11pm, Sun: 4:30pm - 10pm

Zen PalateWhile still also at West 46th Street, Zen Palate, the most unique

vegetarian restaurant has reopened its popular Union Square Restaurant

at a new location at 115 East 18th Street. If it is healthy, delicious

vegetarian dining you want, Zen Palate is the only place to go. It takes

vegetarian dining to an entirely new level, with rice, sumptuous dishes

such as the temple of Zen, the curry supreme, and the popular sweet and

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are great deals and as a grand opening bonus for one year, seventy-vepercent of the food on the menu is reduced by 20%. zenpalate.com

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31/32


32/32

Photos:

TonyDOrio

I PROMISEYOU ARE GOING TO LOVE IT! DAVID RICHARDSON, WOR RADIO

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